It begins fortuitously - discarded scraps of paintings arrange themselves in ways I find intriguing. Through unintentional observation I’ll notice a distinctive mark created by the overlapping paper or an interesting shape formed by the curves and folds.
I’ll then intentionally recreate this occurrence while rearranging the paper into a sculptural form.

I place this on top of a canvas that is painted in complementary colors to the marks and then I photograph and register each assemblage.
This collision of gestures and constantly modified composition creates new ways to examine abstraction through a systematic approach.

The studies are compiled in a book documenting a variety of visual exercises made while developing the pictorial language.
The vocabulary is characterized by organic forms, bold palettes, and sculptural depth.